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Tuesday, February 15, 2011

This new remix/re-arrangement album by Deadhorsemort was almost created by mere accident. We experimented with Henry Gorecki's album Miserere while in the process of creating our first album 'the delude from purities of reign' on Far From Showbiz net-label for the sole purpose to learn about the software and equipment we were using. We kept the re-arrangement of the album we did and liked it enough later to think it was good idea to share with everyone else. Now we like to look at it as a tribute to Gorecki for his music and for his sufferings. Hope you enjoy.

In 2005 we were all playing in a hard rock band just messing around. I'd say we were alright to pretty good. One of the band members we were playing with told me once in a middle of an argument that I should not care about writing good and meaningful lyrics because no one cares, that I should just write anything and whatever I think people would like to hear and most of all whatever would make us money. He actually said to me during the heated argument that "I was beating a Dead Horse trying to write good lyrics because nobody gives a shit." Funny thing is that he's probably right. Well the name "deadhorse" stuck to me like glue for the next few months. Even the guys left in the band would call me DeadHorse for fun sometimes joking around with me. In time after that heated arguement several band members went their own way as 2 members of the band stayed close. The last fews years I and another member of the current group, also my roomate in college got into dark ambient and the ambient genre of music heavily. While studying literature and film in college I realized that a horse is actually a great symbol for romantisicm, symbolizing for the genre as a fantasy and unreal happiness, as the horse is a free, wild, and beautiful thing in the harshness of nature. Also the horse is seen in a great number of romantic films. We released our first dark ambient/industrial album called, DeadHorse - the delude from purities of reign, in May of 2008, for the Polish label Far From Showbiz. Shortly after the release we did searches for the name "deadhorse" and discovered that a underground metal band was also called deadhorse. We felt like we wanted to change the name without running away from the first album, so we added one small word to the name, "Mort." The official english definition of the word, "Mort" is the following: "In hunting, the note played on a hunting horn signifying that the animal hunted has been killed." So there you have our final name, DeadHorseMort.

www.myspace.com/deadhorsemort

About Henryk Górecki:

Henryk Mikołaj Górecki (born December 6, 1933 in Tschirne, Germany - now Czernica, Wrocław County, Silesia, Poland) is a Polish composer of classical music best known for this Third Symphony which became an international success in early 1992, some 16 years after it was written.

Górecki's post-Webernian serialist work of the 1950s and 1960s was characterized by an adherence to dissonant modernism and was influenced by Luigi Nono, Karlheinz Stockhausen and Górecki's contemporaries Krzysztof Penderecki and Kazimierz Serocki. Górecki became a leading figure of the Polish avant-garde during the post-Stalin cultural thaw. Although he continued in this direction throughout the 1960s, in the mid 1970s, he moved towards a 'pure' sacred minimalist sound, notably encapsulated by the 1976 Symphony No. 3 Symphony of Sorrowful Songs. Since then, Górecki has remained primarily a religious composer, but has progressed through several other distinct styles, from the reverence of Beatus Vir (1979), to the meditative Miserere (1981) to the spiritualism of Good Night (1990).

Though he spent two brief periods studying in Paris and a short time in Berlin, Górecki has remained for most of his life in his native southern Poland. Until 1992, he was seen as a fiery figure who was known only to a few connoisseurs; primarily as one of a number of composers responsible for sparking the postwar Polish music renaissance. That year Elektra-Nonesuch released a recording of his fifteen year-old Symphony No. 3, which topped the classical charts in the UK. Within two years Symphony No. 3 had sold more than 700,000 copies worldwide—at least four hundred times the expected lifetime sales of a recording of a symphony by a relatively unknown twentieth-century composer. However the recording's success failed to arouse interest in other works by the composer. Górecki was as surprised as anyone at the recording's success and said, "Perhaps people find something they need in this piece of music…somehow I hit the right note, something they were missing. Something somewhere had been lost to them. I feel that I instinctively knew what they needed."